THE MEDITERRANEAN FOUNDATIONS OF ANCIENT ART

THE MEDITERRANEAN FOUNDATIONS OF ANCIENT ART

MITTELMEERSTUDIEN Herausgegeben von Mihran Dabag, Dieter Haller, Nikolas Jaspert und Achim Lichtenberger BAND 4

Guido Freiherr von Kaschnitz-Weinberg THE MEDITERRANEAN FOUNDATIONS OF ANCIENT ART Translated and edited by John R. Clarke Wilhelm Fink Ferdinand Schöningh

Titelillustration: The Temple of the Sphinx. Giza Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Alle Rechte vorbehalten. Dieses Werk sowie einzelne Teile desselben sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen ist ohne vorherige schriftliche Zustimmung des Verlags nicht zulässig. 2015 Ferdinand Schöningh, Paderborn (Verlag Ferdinand Schöningh GmbH & Co. KG, Jühenplatz 1, D-33098 Paderborn) Internet: www.fink.de www.schoeningh.de Einbandgestaltung: Evelyn Ziegler, München Printed in Germany Herstellung: Ferdinand Schöningh GmbH & Co. KG, Paderborn ISBN 978-3-7705-5913-8 (Fink) ISBN 978-3-506-77919-9 (Schöningh)

CONTENTS Acknowledgements (John R. Clarke) 7 Notes on the Translation 9 Chronology 11 Introduction 15 The Mediterranean Foundations of Ancient Art (Guido Freiherr von Kaschnitz-Weinberg) 25 Notes 91 Bibliography 107 Illustrations 115

ACKNOWLEDGEMENTS ( John R. Clarke) My interest in Guido Freiherr von Kaschnitz-Weinberg began long ago during my graduate years at Yale, where several of my instructors most notably Sheldon Nodelman introduced me to Kaschnitz and other illustrious scholars of the Vienna School of Structural Analysis. Grants from the Research Institute of the University of Texas allowed me the time to pursue this translation, to travel to libraries to investigate Kaschnitz s sources, and to write the introductory essay. Three scholars have helped me in this long project. Many years ago, John W. Dixon, Jr., Professor of Art History at the University of North Carolina, Chapel Hill, shared drafts of his translations of two other essays by Kaschnitz. Sigrid Knudsen s comments on this draft were of great help. The late Eleanor Greenhill, Professor Emerita of the History of Art at the University of Texas, kindly read my translation and offered invaluable suggestions. Any remaining errors are mine alone; I hope they are few and will not distract the reader from this important essay. Last but not least, I am grateful to my lamented partner, Michael Larvey, for his sustained interest in this project and for his constant support.

NOTES ON THE TRANSLATION Translating this short essay by Kaschnitz has proven a long and difficult task. His language is complex, frequently employing idiosyncratic syntax and word usages. Both Helga von Heintze and Peter H. von Blanckenhagen, who personally worked with Kaschnitz and edited his collected writings, comment on the difficulty of his writing for the German reader. Kaschnitz s sentences tend to be long and periodic. He often pushes the meanings of German words to serve his highly-original thoughts, and his thinking, condensed and concentrated from many years of working with the monuments and their meanings, leaps from peak to peak in dense and headlong prose. I have attempted to adhere closely to Kaschnitz s style and vocabulary; in this sense it is a precise rather than free translation. Translating Kaschnitz really requires that one live with his ideas over a long period. Over the years I have been able to try them out on my graduate students both at Yale University and the University of Texas; their readings of my interim translations have stimulated me to find better ways of communicating Kaschnitz s ideas and methodology. I have been able to correct several mistakes in the notes and illustrations, mostly citations of pages and illustration numbers. Kaschnitz did not provide numbered notes for The Mediterranean Foundations of Ancient Art. Instead, he collected references at the end of the essay labeled by key phrases, such as Taurian- Iranian Culture, grouping them according to the page numbers in the text. I have reconstructed 122 notes, numbered sequentially, from the same number of Kaschnitz s references; I have also retained his key phrases. In most cases my endnotes follow the order of Kaschnitz s references; when they do not, the logic of my rearrangement should be clear to the reader. In order to aid the reader wishing to explore Kaschnitz s documentation, I have expanded his highly-compressed references, providing the full citation at first reference, and subsequently replacing the abbreviations op. cit. and loc. cit. with short titles. I have also com-

piled a full bibliography including all of Kaschnitz s citations plus the works I cite in my Introduction. However, I have not updated Kaschnitz s notes. The new studies of the individual monuments and sites will be familiar to the scholar and will be easily located by the non-specialist. Nor have I composed a current bibliography for areas like prehistoric religion, primitive psychology, or the psychology of spatial perception, since this would constitute another book. The purpose of this translation is not to re-evaluate Kaschnitz s essay in the light of current knowledge but rather to give the reader the opportunity to explore Kaschnitz s thought and methodology as he presented them in 1944. 10

CHRONOLOGY The following chronology is based on the biography of Kaschnitz published by his wife, Marie Luise Kaschnitz, in Helga von Heintze and P. H. von Blanckenhagen, eds., Ausgewählte Schriften; Kleine Schriften zur Struktur (Berlin, 1965), 3: 228-39. The lists of friends and colleagues mentioned by Mrs. Kaschnitz give the reader a sense of how important these contacts were to the couple and in what intellectual and cultural pursuits they found pleasure and stimulus. 1890 January 28, Vienna. Guido Kaschnitz von Weinberg born, second child of August Kaschnitz von Weinberg and Emma Perko. 1907 Publishes first paper, Vienna. 1908 Begins the study of Classical Archaeology in Vienna, with concentration on the art history of the Mediterranean area. 1910-13 Works in Austrian excavations in Dalmatia; visits Greece, North Africa, and Egypt. Follows lectures of Max Dvorak and Hans Tietze, later Julius von Schlosser. Develops an interest in nineteenth and twentieth-century art, reading Dostoevsky and Trakl, studying the works of Kokoschka, Klimt, Klinger, Schiele, Egger-Lienz, Mestrovic, Schnitzler, Munch; also Cézanne, van Gogh, Hodler, Rodin, and Puvis de Chavannes, as well as the architecture of Loos and Wagner. Active in political discussion, favors a socialist monarchy for Austria. 1913 Griechische Vasenmalerei der klassischen Zeit wins an archaeological stipend for Greece and Asia Minor. Travels to Egypt, Ithaca, and the Austrian Archaeological Institute, Athens; German archaeologist Doerpfeld names him assistant at excavations at the Dipylon cemetery. Soldier in Austrian infantry regiment.

1917 In campaigns against Russia and Italy; develops deep aversion for war. 1918 Works with Austrian art protection group in Veneto; studies stucco decoration of Santa Maria della Valle. 1919-23 Works in Munich for publisher; develops his interests in theater; translates comedies by Goldoni; follows painters of Die Brücke. 1923-27 Called to the German Archaeological Institute in Rome, becoming director Amelung s first assistant; marries Marie Luise von Holzing-Berstett (born Karlsruhe 1901) in December, 1925; friends include Axel Boethius, Hans Mobius, Werner Technau, Elisabeth Jastrow, Rudi and Margot Wittkower, Harald Keller, Paolino Mingazzini, Paola Zancani Montuoro, Doro Levi, Hans Peter L Orange, Lars Gosta Saeflund, Enrico Josi, Ranuccio Bianchi-Bandinelli. Scholarly exchange with Theodor Hetzer at the Hertziana, Karl Lehmann-Hartleben (then working on the Column of Trajan), Friedrich Matz, and Ludwig Curtius. Works on late Roman portraits. Studies Riegl and Coellen, Der Stil in der bildenden Kunst. 1927-30 Rome, daughter Iris Costanza born; Kaschnitz completes catalogue of the sculpture in the storerooms of the Vatican Museums begun by Amelung. 1926 Studien zur etruskischen und frühromischen Porträtkunst. 1927 Spätromische Porträts. 1929 Review of Riegl, Spätrömische Kunstindustrie. 1932 Habilitation in Freiburg; Habilitationsschrift: Die Struktur in der griechischen Plastik; first lectures. 1932-36 Königsberg, writes Bemerkungen zur Struktur der altitalienschen Plastik, foundation for his structural history of the Mediterranean, then Bemerkungen zur Struktur der ägyptischen Plastik, Zur Struktur der griechischen Kunst, and Marcus Antonius, Domitian, Christus. Königsberg colleagues include Wilhelm Worringer, Walter F. Otto; Assistants Reinhard Lullies and Gerhard Kleiner protected him politically. Nazi firings at the University. Kaschnitz and wife spent holidays in North Africa, Greece, Rome, Naples, Hungary and Yugoslavia, always returning to Ludwig and Edith Curtius in Rome. Armin von Gerkan becomes second director of the German Archaeological Institute in Rome. 12